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Editorial Reviews
Product Description
Here is the first full-scale account of Schoenberg's early tonal works, a rich repertory that music historians have tended to neglect or view as transitional to a mature atonal style.
Between 1893 and 1908, Schoenberg created many genuine masterworks in the genres of Lieder, chamber music, and symphonic music. This book includes detailed critical analyses of such widely admired and performed compositions as Verklärte Nacht, Gurrelieder, and the First Chamber Symphony, as well as discussions of little-known but important songs and instrumental works from the earlier years.
Drawing on original manuscript sources, on Schoenberg's musical environment, on a range of analytical methods, and on Schoenberg's own theories, Frisch traces the development of technique and aesthetic across this critical fifteen-year period of the composer's career.
From the Inside Flap
"A book to which I will return for information and instruction every time I wish to talk about, analyze, or write about Schoenberg's compositions of the period 1893-1908."--Ethan Haimo, author of Schoenberg's Serial Odyssey
"This is the first book that adequately considers Schoenberg's musical and aesthetic development in what Frisch persuasively identifies as a coherent group of early works. . . . [It] should spark a debate that will strengthen our understanding of Schoenberg's early tonal artistry."--Martha Hyde, author of Schoenberg's Twelve-Tone Harmony
See all Editorial Reviews
Here is the first full-scale account of Schoenberg's early tonal works, a rich repertory that music historians have tended to neglect or view as transitional to a mature atonal style.
Between 1893 and 1908, Schoenberg created many genuine masterworks in the genres of Lieder, chamber music, and symphonic music. This book includes detailed critical analyses of such widely admired and performed compositions as Verklärte Nacht, Gurrelieder, and the First Chamber Symphony, as well as discussions of little-known but important songs and instrumental works from the earlier years.
Drawing on original manuscript sources, on Schoenberg's musical environment, on a range of analytical methods, and on Schoenberg's own theories, Frisch traces the development of technique and aesthetic across this critical fifteen-year period of the composer's career.
From the Inside Flap
"A book to which I will return for information and instruction every time I wish to talk about, analyze, or write about Schoenberg's compositions of the period 1893-1908."--Ethan Haimo, author of Schoenberg's Serial Odyssey
"This is the first book that adequately considers Schoenberg's musical and aesthetic development in what Frisch persuasively identifies as a coherent group of early works. . . . [It] should spark a debate that will strengthen our understanding of Schoenberg's early tonal artistry."--Martha Hyde, author of Schoenberg's Twelve-Tone Harmony
See all Editorial Reviews
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Inside This Book
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First Sentence:
In a letter written in April 1894 to his friend Adalbert Lindner, the twenty-one-year-old Max Reger (1873-1916) staunchly defended Brahms against obstreperous journalistic opponents. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Verkldrte Nacht, First Chamber Symphony, First String Quartet, D-Major Quartet, Theory of Harmony, Schoenberg Institute, First Quartet, Second Quartet, Library of Congress, Richard Dehmel, Heilige Nacht, Structural Functions, Bruno Walter, Dika Newlin, Fundamentals of Musical Composition, Max Reger, Mondes Strahlen, Schoenberg's Dehmel, Brahms's Second Symphony, Die Mainacht, Hanging Gardens, Ludwig Pfau, Nikolaus Lenau, Paul Heyse, Walter Bailey New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
In a letter written in April 1894 to his friend Adalbert Lindner, the twenty-one-year-old Max Reger (1873-1916) staunchly defended Brahms against obstreperous journalistic opponents. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Verkldrte Nacht, First Chamber Symphony, First String Quartet, D-Major Quartet, Theory of Harmony, Schoenberg Institute, First Quartet, Second Quartet, Library of Congress, Richard Dehmel, Heilige Nacht, Structural Functions, Bruno Walter, Dika Newlin, Fundamentals of Musical Composition, Max Reger, Mondes Strahlen, Schoenberg's Dehmel, Brahms's Second Symphony, Die Mainacht, Hanging Gardens, Ludwig Pfau, Nikolaus Lenau, Paul Heyse, Walter Bailey New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 26
books:
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7
books
cite this book:
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- Theory of Harmony (California Library Reprint Series) by Arnold Schoenberg on 15 pages
- Style and Idea: Selected Writings by Arnold Schoenberg on 4 pages
- Fundamentals of Musical Composition by Arnold Schoenberg on 4 pages
- Concerning the Spiritual in Art by Wassily Kandinsky on page 94, and Back Matter
- Brahms and His World (The Bard Music Festival) by Walter Frisch in Front Matter, and Back Matter
See all 26 books this book cites
- The Atonal Music of Arnold Schoenberg, 1908-1923 by Bryan R. Simms in Back Matter (1), Back Matter (2), and Back Matter (3)
- Schoenberg and His World by Walter Frisch in Back Matter, and Back Cover
- Schoenberg and Words: The Modernist Years (Bordercrossings, 11) by C. Cross on page 91, and page 346
- A Dictionary of the Avant-Gardes by Ric Kostelanetz on page 552
- The Cambridge Companion to Brahms (Cambridge Companions to Music) by Michael Musgrave in Back Matter
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